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Cover of Ventoline #3 – été 2021

Brigade Cynophile

Ventoline #3 – été 2021

Felicité Landrivon ed.

€8.00

Pourquoi faire un fanzine de musique entre filles? Pour contrer l’hypocrisie et la vacuité d’une presse dite «féminine», en réalité capitaliste et aliénante; pour réagir soit à l’insipidité d’une presse culturelle stérilisée par les discours de l’industrie, soit à la morgue de rédacteurs qui confondent authenticité et beaufitude, panache et insulte, et prennent encore la «meuf» pour une catégorie musicale.

Pour se rencontrer physiquement ou virtuellement, soulever des cailloux ensemble, échanger nos habits, éclairer les doutes autant que les évidences, se sentir moins seules. Pour se sortir un peu d’un flux digital qui nous rend malades, s’affranchir des likes, tanguer entre passé et futur (c’est quoi l’«actualité»? ça commence quand, ça finit quand?). Pour ne pas se rouler dans les formules toutes faites ou les bons sentiments, mais bâtir un truc concret, qui muscle la cervelle autant que les bras. Pour essayer de dresser des équations musique—texte—image dans sa tête, puis dans une surface rectangulaire. Et puis déconstruire des mythes, comme celui qu’il y a des gens qui peuvent écrire sur la musique et d’autres pas. Ça veut pas dire qu’on fait n’importe quoi, on se surprend même à redoubler d’une vigilance parfois épuisante: est-ce que je raconte pas trop ma vie? Est-ce qu’on voit que je fais du second degré? Est-ce qu’emploie le bon vocabulaire?

Dans ce 3e numéro de Ventoline, on déterre des reliques d’enfance, des histoires de migrations et de construction identitaire quand on est à la fois blanche et noire; on discute encore et toujours des relations entre le propre et le sale, le design et l’underground, le travail et l’amatorat; on parle de nos exigences et de ce que les autres attendent de nous; et puis parfois, forcément, on parle des relous.

Faute de temps, on n’a pas réussi à vous concocter de mots-croisés pour la plage, mais on vous souhaite quand même une agréable lecture et un été bien moelleux.

Les contributrices :

Miaux / Mia Prce (Anvers)
miaux.bandcamp.com

Hélène Marian (Paris)
https://www.helenemarian.com

Nelly Chevaillier (Paris)
instagram.com/nllchvllr

Anne Vimeux (Marseille)
http://sissi-club.com

Inès Di Folco
instagram.com/inesdifolco
rosemercieband.bandcamp.com
http://www.red-lebanese.com/index.php/music/mi-nina-ep—pira-pora/

Camille Foucou (Marseille)
instagram.com/camillefoucou

Juliette Romero
instagram.com/julietteromeroaaa

Camille Lavaud (Paris / Dordogne)
camillelavaud.com

Hélène Barbier
helenebarbier.bandcamp.com
celluloidlunch.com

Marie-Pierre Bonniol (Berlin)
studiowalter.com
julietippex.com

Victoria Palacios (Bruxelles)
instagram.com/victoriapalacios

Camille Potte (Marseille)
camillepotte.fr

Laetitia Gendre (Bruxelles)
laetitiagendre.com

DJ Marcelle (Amsterdam)
anothernicemess.com

recommendations

Cover of Fair Arts Almanac 2019

Self-Published

Fair Arts Almanac 2019

SOTA

Zines €10.00

In 2019 SOTA finished the first Fair Arts Almanac. The content of the book was generated during a week long summer camp in 2018 with about 70 contributors. The result was a bundling of tips & tricks, statements & demands, visions & ideas, dates & data, testimonies & voices, addresses & announcements on fairness within the complex relationships between the artistic, political and economic sphere. The compilation of various contributions in this first edition was deliberately associative and open for debate, full of contradictions, loose ends and inconsistencies.

Cover of Livre d'images sans images (LP)

Varamo Press

Livre d'images sans images (LP)

Mette Edvardsen, Iben Edvardsen

Performance €23.00

Livre d’images sans images by Mette Edvardsen & Iben Edvardsen borrows its title from a book by H.C. Andersen, also referred to as The Moon Chronicler. The book follows a conversation between a painter and the Moon, where the Moon describes to the painter what she sees on her journey around the world every evening, telling the painter to paint what she describes. “This conversation, as in the now obsolete meaning of the word (‘a place where one lives or dwells’), was the starting point for our work. Using the weather report as dramaturgy, (‘the moon did not show up every evening, sometimes a cloud came in between’), we have created and collected materials from our conversations in the form of recordings, text, voice, drawings, references, found images, loose connections, inspirations and imaginations, in the order they came to us. They are at the same time sources and traces, material and support for new imaginations or events to come.” The work consists of three different media: vinyl, paper and live performance. 

Mette Edvardsen is a choreographer and performer eager to explore the performing arts as a practice and situation, also in relation to other media such as books and writing. This work is in collaboration with her daughter, Iben Edvardsen.

Published by Xing & Varamo Press
XONG collection – artist records XX10 (2023)
First edition, September 2023
Recorded and edited by Mette Edvardsen & Iben Edvardsen
Format white 12’ vinyl LP in cardboard sleeve
Released in a numbered edition of 300 copies, including collector’s edition of 25 copies, each accompanied by a unique poster hand drawn with black marker by Mette Edvardsen & Iben Edvardsen, 59,4 x 84 cm, folded, signed by the artists

Cover of The Gender of Sound

Spiral House

The Gender of Sound

Anne Carson

Human history is filled with unacceptable sounds: high-pitched voices, gossip, talkativeness, hysteria, wailing and ritual shouts. Who makes them? Those deviant from or deficient in the masculine ideal of self-control: women, catamites, eunuchs and androgynes all fall into this category. 

From the myths of antiquity to Margaret Thatcher via Sigmund Freud and Gertrude Stein, The Gender of Sound charts the gendering of sound in Western culture. Carson invites us to listen again, and in doing so to reimagine our conceptions of human order, virtue and selfhood.

Putting a door on the female mouth has been an important project of patriarchal culture from antiquity to the present day. Its chief tactic is an ideological association of female sound with monstrosity, disorder and death.

Cover of Bodies of Sound: Becoming a Feminist Ear

Silver Press

Bodies of Sound: Becoming a Feminist Ear

Sarah Shin, Irene Revell

‘I am concerned with the power of sound! and what it can do to the body and the mind,’ wrote composer Pauline Oliveros. In the body, histories and politics come together with sound and listening, memory and feeling. Bodies of Sound offers a resonant exploration of feminist sonic cultures and radical listening in over fifty contributions. In this book of echoes, a variety of forms – from essays to text scores to art, fiction and memoir – speak across gender, ways of knowing, witnessing, sounding and voicing, translation, displacement, violence and peace.

With contributions from: 

Sara Ahmed, Ximena Alarcón, Svetlana Alexievich, Ain Bailey & Frances Morgan, Anna Barham, Xenia Benivolski, Leanne Betasamosake Simpson & Kite, Elena Biserna, Karen Barad & Black Quantum Futurism, Anne Bourne, Daniela Cascella, Theresa Hak Kyung Cha, Maria Chávez, Don Mee Choi, Carson Cole Arthur, Petero Kalulé & AM Kanngieser, Lindsay Cooper, Julia Eckhardt, Lucia Farinati & Claudia Firth, Ella Finer, Annie Goh, Louise Gray, Christina Hazboun, Johanna Hedva, Sarah Hennies, Tomoko Hojo, IONE, Lee Ingleton, Hannah Catherine Jones, Christine Sun Kim, Nat Lall, Cathy Lane, Jeanne Lee & Lona Foote, Marysia Lewandowska, Annea Lockwood & Jennifer Lucy Allan, Cannach MacBride, Elaine Mitchener & Hannah Kendall, Alison O'Daniel, Naomi Okabe, Pauline Oliveros, Daphne Oram, Gascia Ouzounian, Holly Pester, Roy Claire Potter, Anna Raimondo, Tara Rodgers, Aura Satz & Barbara London, Shortwave Collective, Sisters of the Order of Celestial Nephology, Sop, Syma Tariq, Marie Thompson, Trinh T. Minh-ha & Stoffel Debuysere, Salomé Voegelin

Cover of Honey Volume 2

Self-Published

Honey Volume 2

Mars Dietz, Opashona Ghosh and 1 more

Poetry €15.00

HONEY is a zine meditating on the experiences of friendship. 

Volume 2 was edited by Mars Dietz, Opashona Ghosh and Dylan Spencer-Davidson—each inviting contributions from friends. 

Following vol. 1’s optimism about the underappreciated potentials of friendship, vol. 2 marks a noticeable turn towards friendship's messier sides. Letters to deceased friends, childhood social complexities, unrealised sexual desire, pushback against the overfetishisation of queer kinship, and more. 

Contributions from Azul De Monte, Ana Božičević, D Mortimer, Adriana Disman, Pelumi Adejumo, Iggy Robinson, Clay AD, To Doan, Edward Herring, marum, Lou Drago, Aisha Mirza, Iga Świeściak, Roya Amirsoleymani, George Lynch, Emily Pope and Kari Rosenfeld. 

Original artworks by Opashona Ghosh and Iga Świeściak, and featuring artworks by Azul De Monte and Emily Pope. 

Riso printed on recycled paper with Pagemasters (London).